A comprehensive dictionary of organ stops - Allen Organ Studio of ...

Io8 DICTIONARY OF ORGAN STOPS.
would seem scarcely possible to satisfy it, since Mixtures are indisputably
more fitted to the full-chord style of playing, and are best pushed in when
giving out single notes in the bass portion of the compass. One of the most
satisfactory Mixtures the author ever heard was in a small organ by Weigle,
in the Y.M.C.A. Hall at Stuttgart. It was a string-toned Mixture. Viol
Mixtures are most certainly not practicable, they are too liable to be
disturbed by the accumulation of dust ; but Geigen Mixtures can be made
with eminently satisfactory results.
Briefly, then, the Mixture of the future requires to be bold in its initial
scheme, but subdued in power. It requires to be artistically toned
throughout the compass, and not left to "run amok," as are most modern
specimens. If it is to be inserted at all, it is worth some care. Far from
being a work of art, it is now a mere commercial adjunct. And—strange
that it should be necessary to say so—when once made it requires to be
tuned. The majority of Mixtures are not even properly tuned much less
regulated, from one year's end to the other. From the action of some
builders, who plant a Mixture between two 8 ft. stops in the middle of a
Swell soundboard, it might even be inferred that Mixtures were auto-
matically self-tuning.
Subjoined are various schemes for compound stops. For the sake of
convenience the breaks of all the ranks are given on identical notes.
Little ingenuity will be required so to dispose the ranks as to break on
different notes :
—
(i) Small Organ—Swell Mixture, (a) Grave Mixture, 12th and 15th
throughout.
(2) Small Organ—Swell Mixture. Pre-supposing an independent 15th.
CCtoF$, 43 notes: 12, 17, 22. 12th moderate, 22nd bright, 17th very
quiet. G to top : 8, 12, 15.
(3) Scheme for full complement of Mixtures on a large organ. Great.
Pre-supposing an independent 12th and 15th. (a) First Mixture, CC to
F#, 43 notes: 15, 17, 19, fe 21, 22. G to top: 1,* 8, 8, 12, 15. (6) Second
Mixture. CC to top: 5, 10, 12, 15. 12th and 15th to predominate.
Swell Mixture. Pre-supposing 4 ft. stop, and Piccolo, (a) First
Mixture. CC to B, 48 notes: 12, 15, 19, 22. C to top: 1, 8, 12, 15.
All fairly powerful, (b) Second Mixture. CC to Ffl, 43 notes: 5, 10,
17,
J2 21, 22. G to top : 1,5,8,10,15.
The above Mixtures are designed on the principle that no Mixture should
break in the first three-and-a-half octaves, i.e., below— _n _A^_or es._
and consequently the ranks which cannot be con- ~ r ~
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tinued up so far ought not to be introduced in the ^T
bass. The Twenty-second is thus fixed as the highest rank in the bass.
1 represents unison, 8 octave.
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